The Luck - Thousand Islands, Islington (25/07/19)

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• Artist: The Luck with special guest Roisin O’Hagan

• Date: 25th July, 2019

• Location: Thousand Islands, Islington

• Website: https://www.twitch.tv/theluckmusic

• Review By: Gary Smith (LCM)

• Video: Martin Cox

Album launches are always special occasions, especially when it is marking the launch of a wonderful and highly anticipated debut. Thousand Islands, a ‘glitterball’ filled venue above the famous Garage. played host to a fast-rising London based brother and sister duo, who I think have all the elements and great team behind them, to become one of the UK Americana and Folk Rock breakthroughs acts of 2019.

Blending Americana with Folk Rock, Max and Esmay have such a great talent to write and produce memorable, meaningful and commercial songs. Blended together with excellent arrangements, musicianship and special ‘blood’ harmonies. The first time I heard their music I had the same reaction as I did when I first heard The Wandering Hearts, who have gone on to great success over the past few years.

On the hottest day so far of 2019, the crowd braved the heat to enjoy a top night of new indie music.

Their special guest and opening the launch was Essex based Country singer-songwriter Roisin O’Hagen who has also been on my radar for a while. Roisin was a Fender Undiscovered Artist of the Year 2018 finalist and has recently performance a ‘Under The Apple Tree’ session at the home of a legendary supporter of new artists broadcaster Bob Harris. Taking to the stage solo with her bright red Fender acoustic, Roisin performanced a seven song set of some of her most popular tracks including ‘Miss You Like June’, ‘Undone’, ‘Run’ and ‘Living In The Dark’, We were even treated to her UTAT session song ‘Coming Home’. With a great new single ‘Drive’ released back in June, I’m expecting more very deserved recognition and success for Roisin this year. Please watch out for her at a gig or festival near you.

Introduced by another wonderful BBC Radio 2 broadcaster and support of indie music Paul Sexton, Max and Esmay took to the stage along with Jim on drums and Scott on guitar. With Esmay taking the lead vocal they opened their set with the rocky Americana flavoured ‘True North’. This was quickly followed by a great track which has received a lot of regional radio play recently ‘ If This Is Love’ taken from the new album. ‘Lionheart’ is an aspiration song about having courage, really going for it and following your dreams. The pace then slowed for the heartfelt ‘Place In The Sun’, a love song written for their parents 40th wedding anniversary.

With just Max and Esmay on stage, Max plays piano and takes lead vocals on the uplifting, atmospheric Fleetwood Mac and Laurel Canyon flavoured ‘Rise & Shine’. Another aspirational song in the set was the very catchy folk rock ‘Vertigo’. It was full of driving percussion and soaring harmonies. One of my favourite tracks on the night was the wonderful and reflective ‘Holding On’, which was the first track the Max and Esmay wrote togethe with its beautiful heartfelt lyrics, soft finger picked guitar, delicate bass and super vocals. Next was the the more rocky album title track ‘Ready To Run’ which is receiving a lot of praise and love and very rightly so. The track was written near Lake Tahoe in the US about the end of a relationship.

Max and Esmay returned to the stage for their well deserved two song encore. First was the wonderful ‘Leave Your Light On’ followed by a beautiful unplugged up close and personal performance of ‘Muscle and Bone’ in the middle of a very attentive audience.

It was a super and very memorable debut album launch by two new high flying stars of the London music scene. LCM ‘Ones to watch’ in 2019.

You can buy a copy of Max and Esmay’s new album below or directly through their website >>>

Heard Collective - St. James Church, Islington (23/11/18)

Photo credit: Tony Mendes

• Artist: Heard Collective

• Date: 23rd November, 2018

• Location: St. James Church, Islington, London

• Website: TBA

• Review by: Gary Smith (LCM)

It’s always exciting to witness the birth of a high quality and much needed new project. The recently founded HEARD collective is one which I think will gain many plaudits and be around for a long time. It was set up with the much needed aim of promoting and supporting women in music.

Singer-songwriters Daisy Chute and Cerian co-founded HEARD after they first met in the studio recording vocals for Radiohead album ‘A Moon Shaped Pool’ in 2016 and then singing Ilan Eshkeri’s score for the Burberry fashion show shortly after. They quickly became friends and started performing together on the London circuit.

Both multi-instrumentalists with Celtic roots and renowned for their pure angelic voices, they decided to combine forces and form a new collective of female musicians who tour together, play together and support one another. The idea was born out of a desire for more female representation in the industry and was inspired by other collectives such as Nashville-based ‘I’m With Her’, British collaborations ‘Songs of Separation’, ‘Woman to Woman’ and music by indie folk/pop bands like First Aid Kit and The Staves.

“So often we were finding ourselves in the studio or on a lineup as the only female voice. When we investigated further, we discovered that online magazine Pitchfork had found that only 14% of acts in American festivals in 2017 were female, and according to UK collection agency PRS only 16% of all songwriters/composers registered were female. Rather than viewing this as a competition between each other for that small space, we wanted to ‘open’ the window of opportunity, creating a collective of women not working against, but with and for each other.”

Cerian and Daisy wanted to give a stage to the female voice and in this exciting new format they present gigs, tours and all female line-ups together as HEARD. Between them they play a dozen different instruments from classics like guitar and piano to the more unusual harp and banjo. They love creating vocal soundscapes inspired by their time as choral scholars and their subsequent musical projects; Daisy was a founding member of All Angels and Cerian has sung for U2 and Imogen Heap among many others.

Daisy and Cerian want HEARD to be inclusive, for all female creatives from singer-songwriters to instrumentalists to artists. A stage for the female voice and a community for female creatives.

The official HEARD collective launch gig promoted by Pink Bird Live was a very special occasion. It was held in the grand St. James Church, a short walk from Angel tube station. The wonderful bill followed showcasing the talents of Cerian Holland, Daisy Chute, Fabia Anderson, Hannah White, Jelly Cleaver, Meg Ella, Liskka and Rebecca Brewer. It was great is how each musician played with or provided backing vocals for each of the lead artists in turn.

The evening was opened by the couple of lovely original songs from HEARD founders Daisy and Cerian, quickly followed by ‘River’, an always welcome and with Christmas fast approaching a timely Joni Mitchell cover.

Liskka, a London based alternative pop band (this time in duo format) then took to the stage to play their latest single ‘Sad Joy’ with Daisy on backing vocals. This was followed by a timely cover of Kate Bush’s ‘This Woman’s Work’.

The much traveled and in demand Daisy and Cerian are just back from a working trip and mini tour of the USA plus a visit to the home of Country music, Nashville. It was next Fabia Anderson’s turn to shine on the piano mixing shades of Regina Spektor, Fiona Apple and Tori Amos. Founders Daisy and Carian returned to the stage for a great version of Cerian’s song Our ‘Love Is’ written by Cerian, Also written by Cerian and one of my favourite songs the beautiful ‘Wasteland’ and I was delighted to see it included in the launch set. She was joined by Meg Ella on cello plus Daisy and Flavia Anderson on backing vocals. The mini set was completed by another lovely song ‘Give Thanks’ written by Daisy.

Welsh born but London based Meg Ella is a very talented lady. She is a multi-instrumentalist, singer-songwriter, composer and arranger. She also sings with ‘London Contemporary Voices’ and the ‘voices of the world’ choir. A short but sweet mini set. London based singer-songwriter and The Sound Lounge co-founder Hannah White was the next very talented musician to take the stage. The first gig that Daisy and Cerian performed as a early version of HEARD was very fittingly at Hannah’s venue on International Woman’s Day. Hannah pointed out that rather shockingly just 6% of songwiters for the Top 40 are women, Something desperately needs to change and female focused collectives like HEARD are definitely a move in the right direction.

The co-founders then performed two more of my favourites Daisy’s ‘Troubadour Boy’ and Cerian’s very catchy ‘Let’s Sing’. Daisy is currently working with Rebecca Brewer on a theatre project about the Pendle witch trials. The trials of the Pendle witches in 1612 are among the most famous witch trials in English history, and some of the best recorded of the 17th century. The twelve accused lived in the area surrounding Pendle Hill in Lancashire, and were charged with the murders of ten people by the use of witchcraft. As a side point the trials were also the central theme of a recent Dr. Who episode. After a short introduction from Rebecca we were treated to a mini taster of the new show with a rain incantation leading into a powerful song about the witches tearing down society. The church’s natural reverb adding to the dramatic performance.

For the encore the full collective came together for a powerful cover of Tracey Chapman’s ‘Talkin’ About The Revolution’.

With the huge depth of rich talent in their new collective, it’s one that is sure to grow and provide many opportunities for female creatives. We think The HEARD collective will be one of ‘the ones to watch’ in 2019. #followtheHEARD

Next HEARD London gig: Supporting The Willows at their album launch gig on 5th December at The Half Moon, Putney.

Photo credit: Tony Birch

Photo credit: Tony Birch

Sam Kelly And The Lost Boys - Bush Hall. London (11/11/18)

THE LONDON ROOTS FESTIVAL

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• Line-up: Sam Kelly and The Lost Boys with special guests Honey and the Bear

• Date: 11th November, 2018

• Location: Bush Hall, London

• Review By: Gary Smith (LCM)

A ‘Remembrance Sunday’ gig at the wonderful Bush Hall in London saw one of the UK’s finest young folk bands headline a very memorable night of music. It was full of passion, high energy and high quality music.

Sam Kelly and The Lost Boys have gained a worthy reputation as an very exciting live band. They are also a folk super group, full of very talented award winning individual musicians in their own right. They played a slightly reduced regular line-up at Bush Hall with Graham Coe (The Jellyman’s Daughter) and Archie Churchill-Moss (MMR) missing. But still had the awarding winning Sam Kelly (The Changing Room), Jamie Francis (The Changing Room, Stark), Toby Shaer (Seth Lakeman, Carousel), Ciaran Algar (Greg Russell & Ciaran Algar) and Evan Carson (The Willows, The Changing Room, Ange Hardy) in their ranks. 

Special guests Honey and Bear, the newly married duo of Jon Hart and Lucy Sampson. had joined Sam and the band on their tour in March last year and the combination worked perfectly again. Hailing from Suffolk their great blend of Folk and bluesy Americana really complemented SKATLB’s more high energy Folk Rock style. I’m always fascinated by multi-instrumentalists and both Jon and Lucy swapped their multitude of instruments with ease. Their infectious music and tight rich harmonies adding to the mix. Subject material included the long distance yachtswoman Ellen MacArthur, Dulwich under the sea, a lovely song dedicated to their grandparents and the beautiful ‘Sailor’s Daughter’.

After a short break Sam and The Lost Boys opened with the upbeat ‘The Kings Shilling’ from the band’s self titled debut album. The album version also features Kitty Macfarlane, who has just released her excellent debut album also produced by Sam.

Included on Sam’s 2015 EP ‘Spokes’ ‘Hickathrift’ tells the story of a giant killer. Tom Hickathrift is a legendary figure of East Anglian English folklore, a character very similar to Jack the Giant Killer. 'Angeline The Baker' (Roud 1834) was written by Stephen Foster for the Christy Minstrels and first published in 1850. The original Appalachian tune laments the loss of a female slave sent away by her owners. The song was also featured on Jamie Francis’ debut solo album.

The title track from Sam debut EP ‘Spokes’ followed but not before an anecdote about the song being played a few times on BBC Radio Shropshire on its release, enabling the band to buy a Freddo between them with the PRS radio royalties. Sam mentioned that the song was also played on the TV series ‘Hollyoaks’.

Sam revealed that Jamie and himself had recently signed a publishing deal. ‘Like Lennon and McCartney’ Sam said ‘You now have Kelly and Francis’. ‘Francis and Kelly I thought’ corrected Jamie with a smile. ‘He doesn’t say much, but when he does…..it’s solid gold’ said Ciaran laughing.

Taken from Sam’s second album ‘Picking Up The Pieces’ with ‘The Changing Room’, ‘Gwrello Glaw’ meaning ‘Let It Rain’ is a stunning song sung in Cornish. Sam mentioned that he played the song at Jon and Lucy’s wedding as their first dance. We returned to a nautical theme for a dark tale in which a lady's lover long lost at sea, returns to her and persuades her to come away with him to a distant land. After boarding the ship, in the true traditions of folk music, she quickly realizes all is not as it seems......[spoiler alert] one of the versions of this traditional song is called 'The Demon Ship'. The love interest of the traditional song 'The Bony Lass of Fyvie' gave them the title of their latest album 'Pretty Peggy'. On the album version the band are joined on the track by the wonderful Cara Dillon.

Described as ‘the stuff of nightmares’ by Sam, the ‘Dullahan’ is a headless Irish horseman who collects the souls of the dying. With its excellent high energy finish, this song is also found on the bands debut album. Next was a song dedicated to Sam’s grandparents who inspired his love of folk music, the beautiful ‘I’ll Give You My Voice’. Sam mentioned that you can find himself and his grandfather playing music together on YouTube.

First collected in the late 70’s from the North East of England and learnt from the singing of M. Knopfler, was a super high energy version of ‘Sultans of Swing’. It’s always a crowd favourite and it didn’t take much to have the audience singing and clapping along.

'The Close Shave', a very clever and funny variation on the traditional song 'Barrack Street'. It tells the unfortunate tale of gold miners in the a New Zealand town, cross dressing, gross deception, heavy drinking, robbery and a never ending cycle. The personal and tender 'Chasing Shadows' written by Sam is a song for a close friend and for anyone currently going through a tough time. Sam also mentioned that is now available on all BA flights, as it has been added recently to their playlist.

To finish the main set the band played ‘Greenland Whale’, a very catchy high tempo traditional whaling shanty is sometimes know as 'The Whale Catchers' or 'The Twenty Third of March'. It's a real toe-tapper with a great hooks and a sing-a-long chorus.

Their encore song ‘Healing Hands’ was followed with a couple of tunes, 'Josh's Slip' by Toby and 'Rookery Lane' by Ciaran which form the uptempo 'Shy Guy's Serve' set.

With a standing ovation and the sound of a very happy audience ringing in their ears the band knew that they had performed one of their best London gig to date. Another excellent addition to The London Roots Festival.

Photo Credit: Navigator Records

Photo Credit: Jon Hart

Honey and the Bear

Callaghan - Dingwalls (07/11/18)

The LONDON ROOTS FESTIVAL 2018

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• Line-up: Callaghan with special guest Danni Nicholls

• Date: 7th November, 2018

• Location: Dingwalls, Camden, London

• Review By: Gary Smith (LCM)

• Photo Credit: Mark Banks

When you have two of the finest fast rising UK female singer-songwriters on the same bill, you know you are in for a great night of music. The excellent 2018 London Roots Festival hosted this wonderful high quality event at the famous Dingwalls in Camden Lock.

Opening the evening was the very talented Americana singer-songwriter Danni Nicholls. It was very fitting that Danni returned to Dingwalls, as it was the location of the recording of her Vintage TV live album which was released last year. Nominated for both album and artist of the year at the recent AMA UK awards, Danni’s star is definitely on the rise. Her excellent third album has recently been recorded in Nashville and it’s set for release in the spring. From what I’ve already heard, it’s going to be very special..

A wonderful selection of songs followed including those from Danni’s award nominated studio album ‘Mockingbird Lane’ including ‘Long Road Home’ inspired by her home town of Bedford and the wonderful breakup song which is a personal favourite of mine ‘Beautifully Broken’. It wasn’t long before we had a taster of the new album with lovely ‘Losing It’ and a song which Danni described as a love song to herself ‘Ancient Embers’, showcasing this highly anticipated new release.

Audience participation was the order of the day next as Danni played the catchy ‘Back To Memphis’ with its very infectious singalong chorus. Ending the set perfectly with ‘A Little Redemption’ based on a poem found in a book at the Women’s Institute, complete with its ‘humming’ audience backing.

After a short break the very impressive Lincolnshire born but now LA based Callaghan and her three piece band took the stage. They started with the simply beautiful ‘Surrender’, setting the tone perfectly for the rest of the set. Moving seamlessly into the super ‘Solid Ground’. Callaghan’s recently released self titled album has an overall bigger cinematic feel which translates and works very well live. Her back catalogue also includes some very catchy pop tracks including ‘Crazy Beautiful Life’, which describes her often unpredictable but ultimately fulfilling life as a touring musician.

Always a crowd favourite is her cover of "Stand by Me", originally released in 1960 by Ben E. King and written by King, Jerry Leiber, and Mike Stoller. The audience didn’t need much encouragement to join in. A lovely version can also be found on Callaghan’s Acoustic Coffee House live album released in 2016.

Often Callaghan’s music is inspired by her life on the road and the people she meets on her musical journey. ‘When You Loved Me’ taken from her 2015 ‘A History Of Now’ is based on a the story of the grandmother of the family she was staying with in New York. Although 85 year old this lady could clearly remember her life in the 40’s and 50’s, including vividly her first love as teenager. Exploring the idea that people are alive as long as someone remembers them, the tender and reflective ‘If You Miss Me (When I’m Gone) was another beautifully written and performed song with the attentive audience ‘pin drop’ quiet.

The mood was lifted with another cover, this time Steve Wonder’s classic Motown ‘Signed, Sealed, Delivered (I’m Yours). This blended perfectly into the mega catchy reggae infused ‘We Don’t Have To Change The World’, a song about worrying less and having more fun, with another great audience singalong in the chorus.

In a world where a lot of communication is often through the internet or social media ‘Skin On Skin’ explores the importance of ‘face to face’ personal contact. The song was co-written with Grammy award winning Jeff Silbar, who also famously wrote ‘Wind Beneath My Wings’ among many other hit songs. ‘Who Would I Be’ is another highly crafted beautiful piano led track, full of personal reflection and feeling. Callaghan has a wonderful talent for penning songs with very memorable hooks and melodies. With it’s whistling introduction the relationship track ‘Better Together’ is another perfect example.

Written for her nephew ‘Noah’s Song’ provides much sage guidance and encouragement for a young person growing up in the world. “Try to touch the sky……I hope you will be alright……as you learn to fly”. Recorded with Louis Price (ex lead singer of The Temptations and The Drifters) and a gospel choir ‘The End Of The World’ was a thought provoking and beautiful uplifting piece of gospel soul-pop.

‘Broken’ could quite easily be the next James Bond theme, with it’s super string section provided by 30-piece orchestra. It’s big, it’s sweeping and very cinematic. Callaghan’s producers on her new album include husband and wife team Starr Parodi and Jeff Eden Fair who also composed the updated 2005 James Bond Theme, ‘Golden Eye’ and ‘Die Another Day’ among may other themes including Mission Impossible 2 and Harry Potter.

One my favourite Callaghan tracks, the very positive up-tempo and mega catchy ‘Best Year’ was the first in a very well deserved encore. It was one of the first tracks I heard back in 2015 and it still brings a smile to my face every time it’s played. Quite simply it’s bright summer sunshine and broad open horizon’s in musical form. With the band leaving the stage it was time for Callaghan to perform a stunning solo version of the classic ‘Somewhere Over The Rainbow’ on keys. Although often covered, there was something very special, intimate and fresh about this version.

A very well deserved standing ovation followed, bringing to a close another fantastic night at the festival. I really hope that 2019 will prove to be the breakout year for these two very talented and classy UK singer-songwriters.

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Music Makers Festival - The Half Moon, Putney (6th - 7th Oct 2018)

• Event: Music Makers Festival

• Date: 6th - 7th October, 2018

• Location: The Half Moon, Putney, London

• Website: www.musicmakersfestival.com

• Review By: Gary Smith (LCM)

The Music Makers festival in just it’s second year is rapidly becoming one of the premier events on the London music calendar. It wonderfully showcases the ‘songwriter and the song’, with original music the main focus. But with the occasional cover song added for good measure.

With 14 acts performing over two days the festival had an excellent new home at the historic music venue The Half Moon in Putney. The festival also highlighted the great talent and high quality music we currently have in the independent music world. Albert and Manoja even managed to add a few surprise guests into the already fantastic line-up.

Saturday

The festival opened with a fantastic young St. Albans based singer-songwriter Hope, with her beautifully crafted reflective piano ballads and pure vocals. Playing a mix of original material and a Nora Jones cover, Hope created the perfect opener with her very compelling performance. She mentioned that her father used to drink in The Half Moon in his university days, so it was very fitting that she had the opportunity to perform at the venue. Hope will also be supporting Brian McFadden at The Boisdale in Canary Wharf in early November.

Travelling over from Cork was one of Ireland’s most prolific singer-songwriters Jack O’Rouke. Dramatic and powerful piano ballads were the order of the day. A great mix of contemporary folk, blues, jazz and Americana, including an anthem for the recent marriage referendum in Ireland and a wonderful cover of Bowie’s ‘Life On Mars’ to finish.

Next up were the fast rising London based Country Pop and Americana band Two Ways Home. This time the band was playing in trio format with Lewis, Isi and Michael, which I thought worked very well. Gaining a lot of experience from running their own London Nashville style ‘Songwriter In The Round’ show ‘The Round Up’, they were perfectly at home on the Half Moon stage. Performing a mix of new and older songs they explained the origins their compositions, including some recent co-writes in Nashville including ‘Hope & Glory’ and ‘Vegas Wheel’. Their set ended with the the audience singing along to the very catchy ‘Push & Pull’.

Travelling up from Brighton was Jacko Hooper who has supported both James Bay and James Blunt on tour. Jacko had not performed in London for over a year, so it was a rare opportunity to catch him live. His songs reminded me of Damien Rice and Glen Hansard. One of the highlight of his set was the duet ‘Runaway With Me’ with special guest Rebecca Wrangler.

It was only fitting that one of the wonderful key organisers of the MM festival the award winning Albert Man took to the stage next. Joined by Dan on bass and Joe on drums Albert played a selection of new songs including ‘Chasing Rainbows’, ‘Blink’ and some old favourites ‘Shotgun’, ‘Say Out Loud’ and ‘Groundhog Day’.

One of my favourite bands of the day were the Treetop Flyers, a Folk-Rock/Americana band from London. Playing a rocky bluesy stripped set with just two members and one sitting in the audience. Super songs, guitar playing and vocals. They are supporting Israel Nash at the Scala soon and I would highly recommend booking a ticket. Also please check out their recently released self titled album.

The evening concluded with an excellent set by London based four-piece AKA George. Full of catchy songs, driving rhythms and a electrifying stage presence, they reminded me of the sadly missed INXS. Hailed as a ‘genius’ by Pharell Williams, AKA George is current gaining a lot of recognition with 30 million YouTube views, a headline performance one one of the stages at Glastonbury and one of the band singles ‘Stone Cold Classic’ used on a recent Skoda advert. Definitely one to watch for the future.

SUNDAY

The Sunday programme began in a similar way to Saturday with an excellent opening set from a young singer-songwriter, this time the very talented Lucy May Walker. Lucy is based in London but is originally from Redditch. You will often find Lucy busking around London including at the famous Southbank. Armed with her trusty acoustic guitar and thoughtful catchy songs she charmed the audience. One of the highlights of her set was her song about London living ‘You’re Not Alone', which she entered into a London song competition. Lucy will be having a live session and interview with Jeremy Vine on his BBC Radio 2 show on the 31st October. Also please check out her latest EP ‘Heartbreak Songs’

Also joining us from the Emerald Isle was Irish singer-songwriter Declan Greene. With great craic and a rich powerful vocal Declan was a charming and engaging showman. Opening his set with a powerful unaccompanied song and then picking up his acoustic guitar for the rest of the set. Songs included ‘River’, ‘Clean Break’ and a cover of the Moody Blues ‘Nights In White Satin’. The last song saw Declan play his song ‘Stay’ unplugged in the middle of the audience, exiting the packed room with the audience still singing along to the chorus.

London based singer-songwriter Mide and his band provided a change of style with their combination of smooth Soul, R&B and Rock, joined my fellow band members Joseph and Michael. Mide played a great set including ‘Name’ which he said was great for weddings, the rocky uptempo toe-tapper ‘The Way You Move’, a tribute to his father ‘Wind Chimes’ and two lovely songs about love ‘Wonder’ and ‘Falling For You’.

As a surprise the very talented Dublin born Gavin James performed a great two song mini-set. First with his song ‘Always’ on acoustic guitar, which he described as the ‘saddest song ever’ and then a lively duet with Declan on the Bruce Springsteen classic ‘Dancing In The Dark’.

The very classy Danni Nicholls always makes in impression with her great brand of UK Americana. She was nominated as ‘Artist of The Year’ at the recent AMA UK awards and it isn’t to difficult to understand why. Danni is currently working on her third studio album and from what I’ve already heard it is going to be very special. Her set included songs from the new album ‘Loosing It’ and ‘Ancient Embers’ as well as a few older favourites ‘Hey There Sunshine’, ‘Beautifully Broken’, ‘Back To Memphis’, ‘Long Road Home’. To finish ‘A Little Redemption’ which is based on a hymn, had all the audience joining in on the humming section.

Continuing the high quality music was London based Howard Rose with his brand of Soul and Country Rock n Roll. Howard was joined on stage by band members Joe Cartwright (bass) and Damon Claridge (drums). An excellent set including songs from his latest EP ‘Changes’ and a great cover of Harry Nilsson’s ‘Without You’

Mercury nominated Michele Stodart of The Magic Numbers is always a class act. With her 1964 Gibson Hummingbird in hand she treated the audience to new songs and songs from her solo album. She was joined by band members CJ James on drums and Andy Bruce on keys/bass. Listening to her set was a perfect way to spend a chilled Sunday night.

Closing the festival was another Irish singer-songwriter Kim Hayden from Wicklow and her band. Kim was a semi-finalist on the TV series ‘The Voice Of Ireland’ and see mentioned that it was her first time performing in London. Joining her on stage were Gus Crawford Collins, Geoff Warner-Clayton and brothers Ben and Ian Cully. Kim said that her drummer is from Putney, so he was playing on home turf. Often sharing the lead vocals with Ben, Kim played a lovely and entertaining set of her songs including her new single ‘Trouble’.

A special thank you to MMF founders Albert Mann and Manoja Ullmann for arranging, organising and hosting such a great festival. To Ross Macintyre (Play That Country Music) who did a a great job MCing and interviewing the artists and to all the hard-working MMF team. A special thanks also to Nina Jackson and her team at The Half Moon including sound engineer Linnea Kempe, who I thought did a fantastic job all weekend.

I can’t wait until the next one, a definite date for your 2019 diary.

Emily Mae Winters - Cecil Sharp House, London (03/10/18)

‘HIGH ROMANCE’ PRE-RELEASE UK TOUR

• Line-Up: Emily Mae Winter Trio

• Location: Trefusis Hall, Cecil Sharp House, Camden

• Date: 3rd October, 2018

• Review By: Gary Smith (LCM)

• Photo Credit: Tony Birch (FATEA)

The hallowed halls of the home of English folk music Cecil Sharp House provided the backdrop to a wonderful headline gig from fast rising star Emily Mae Winter and her superb band. Emily was joined on the night by the very much in demand John Parker (Nizlopi) on double bass and the very talented Jamie Leemings (Solasta) on electric guitar. The combination works perfectly adding a perfect complimentary backing for Emily’s rich soaring vocals and high quality songwriting. The gig was the very first one for Emily as a full time musician, having recently given up her teaching job.

After a short introduction by EFDSS’s new creative director Zoe Nicholls of the Worry Dolls, the first set was opened with the atmospheric ‘This Land’. Powerful vocals from Emily’s coupled with her new mint green Gretsch, bowed double bass from John and Pink Floyd like guitar break and slide guitar from Jamie. Emily concentrated on some of her newer songs in the first half and the next one in the set was the lovely ‘Lately’. Although currently based in Cambridge, Emily previously lived in London for seven years….and might be returning in the new year. ‘Lately’ with it’s rich feel is Emily’s tribute to the capital. Emily said that she wrote the next song ‘How To Fix A Broken Sun’ while shadow hopping in the hot summer sun. It made her wonder what would happen if it suddenly stopped shining. The sun is also often used as a metaphor for happiness and new beginnings. Continuing the London theme the next song ‘Until The Light’ was written on the Southbank. After a switch to her Tanglewood guitar due to a misbehaving Gretsch, this one was played solo. Gentle finger-picking really complimented the song’s content. It was a return to the Gretsch after some quick maintenance by John. ‘Would The World Stop Turning’ is a beautifully song and I was so glad to see it included in the set. Returning to an older song Emily played an acoustic version of the excellent ‘Miles To Go’. To further enhance the set Emily played ‘Across The Wire’ a reflective Piano song about receiving love letters in the modern era. About the problem of getting things across and of being in love.

Emily then spoke about her current Pledge campaign and pre-sale for the album (link below) and that title ‘High Romance’ carries the idea of escapism

https://www.pledgemusic.com/projects/high-romance

Up next was the title track of her debut album ‘Siren Seranade’. which she wrote at Lake Balatar in Hungary after sadly being dumped. Emily conducted the audience in two sections to provide the underlying humming two-part harmonies. The award winning ‘Anchor’ provided a fitting end to the first half. A song written by Emily at 17 years ago when she was living in Conakilty in West Cork, Ireland. A song themed on a sense of home and place based on people and your roots.

After a short break the second half began with a new piano ballad ‘One Of These Days’. Emily used the metaphor of children washing up on a beach like treasure and trying to explain the world to them. A perfect seasonal song was the autumnal ‘Blackberry Lane’ about blackberry picking in Cambridge. Written in Ireland another excellent song ‘Foreign Waters’ was the title track of Emily’s debut EP. We had a special guest Elisabeth Flett, Jamie’s band mate from Solasta, who joined Emily on fiddle for the next traditional song ‘Down By The Sally Gardens’. Solasta will be performing next in London on the 11th October at The Goose Is Out! Ivy House in Peckham.

We shifted up a gear for the up-tempo Americana and Western flavoured song about gin and whiskey ‘Gin Tingles and Whiskey Shivers’. Which is sure to be a popular live track on new album. With a powerful County Rock feel another new track ‘Wildfire’ was next and worked very well with the previous track. Another highlight was ‘Come Live In My Heart And Pay No Rent’, a song which Emily has recently adapted from an Irish poem. A fitting encore was a solo acoustic cover of the Goffin/King classic ‘Will You Still Love Me Tomorrow’ with the audience joining in on the harmonies.

Emily is one of the fast rising young stars of the UK Americana and Folk world. We see a very bright future ahead.

A Winter Union - St. John On Bethnal Green, London (14/12/17)

• Line-up: A Winter Union (Katriona Gilmore, Jade Rhiannon, Jamie Roberts, Hannah Sanders and Ben Savage
• Location: St. John On Bethnal Green, London
• Date: 14th December, 2017
• Review By: Gary Smith (LCM)
• Live photos and video: Keith Bache

One of the musical highlights of the pre-Christmas period is the annual UK mini tour from folk super-group 'A Winter Union'. It brings together five of the leading lights of the current British roots scene, who have joined forces to create a festive folk band like no other. Their repertoire includes brand new, specially written songs, fresh arrangements of traditional carols both well-loved and little-known and seasonal classics from both sides of the Atlantic. High class musicianship and songwriting plus wonderful close soaring harmonies are the hallmarks of the night. This gig was made extra special as it was hosted at St. John's, a grand but rather cold early 19th-century 'Sir John Sloane' designed church, just a stone's throw from Bethnal Green Station.

'A Winter Union' was originally formed in 2015 for a one-off Yuletide concert. They returned in 2016 for more shows including one of the home's of UK folk music Cecil Sharp House in London and a live session on BBC Radio 3. This year brings the band’s first line-up change with BBC Radio 2 Folk Award winning Kat Gilmore & Jaime Roberts replacing another multi award winning duo Stu and Debbie Hanna from Megson.

The evening started in true seasonal fashion with the traditional and popular carol 'Ding Song Merrily on High' with Hannah and Jade sharing the lead vocal. This was followed by an original song called 'Every Midnight Mile', a tender and thoughtful charity single released in 2015 to raise money for 'Shelter' as part of the Song Ark project. This Americana Folk flavoured song reflected on 'being grateful for what we have' and was written by Kat. The original recording also included UK folk favourites Lucy Ward and Sam Kelly.

Secrets were revealed next as Ben confessed that his hobby away from music is cider making. The rowdy and rousing song 'Our Wassail' followed with Ben taking the lead vocals and featured very strong and lively fiddle playing from Kat. Wassailing refers to a traditional ceremony that involves singing and drinking to the health of trees on Twelfth Night in the hopes that they might better thrive. The purpose of wassailing is to awaken the cider apple trees and to scare away evil spirits to ensure a good harvest of fruit in the Autumn.

'Elizabeth' is a homage to Elizabeth Woodcock from Cambridge who after visiting a local inn and getting quite merry fell off her horse in the wintertime and was allegedly entombed in an ice cave in a snow drift for 8 days. She survived so the story goes on nuts and brandy. I loved the acoustic guitar solo from Jamie in this one.

It's always great to have a traditional song about yuletide kindness to peasants and 'Good King Wenceslas' fitted the bill perfectly. This popular Christmas carol that tells a story of a Bohemian king going on a journey and braving harsh winter weather to give alms to a poor peasant on the Feast of Stephen. The song featured Kat on tambourine (borrowed from Jade's daughter), Ben on Dobro and some fantastic three part harmonies from the group.

We were treated to an 'almost' world exclusive live premiere (2nd play) of an excellent new song written by Kat called 'Fox In The Wintertime' which geatured Kat on lead vocals and Jade on BV's. To close out the first half 'The King' featured 'the king of birds' the wren. The ancient annual hunting and killing of the little wren symbolized of the death of winter. The song is also a new charity single to support missing people. This segued nicely into a few choruses of 'Good Rest You Merry Gentleman' with it's heartly 'good tiding of comfort and joy' refrain

The second half opened with the group singing unaccompanied the rousing ancient and traditional carol 'The Boar's Head' (first published in 1521). Starting at the back of the church, they walked down the aisle through an enthralled audience, finishing the song the front of the stage. The church acoustics working marvelously. I also loved the instrumental version that followed of another traditional carol 'In The Bleak Midwinter'. The song is based on a poem by the English poet Christina Rossetti written in 1872 and was first set to music in The English Hymnal in 1906 by Gustav Holst. This version saw Hannah on dulcimer, Kat on fiddle, Ben on Dobro, and Jamie on acoustic guitar. A third very popular traditional carol followed with a wonderful version of the 'The Holly & The Ivy' featuring Jade on lead vocals.

The 'Mistletoe Bough' is based on a horror story, which has been associated with many mansions and stately homes in England. Surprising it was a very popular Christmas song in the mid 1800's, even forming the basis of a later Alfred Hitchcock movie. It features a new bride, playing a game of hide-and-seek during her wedding breakfast, who hides in a chest in an attic and is unable to escape. She is not discovered by her family and friends and unfortunately dies. The body is found many years later in the locked chest, as a skeleton in a wedding dress.

The 'First Light Of Day' is a song written by Jade's husband Cliff who was on baby sitting duty on the night. Ben joking said that for a few years they never took much notice of what the song was called, they just nicknamed it 'Cliff's Christmas'. Jamie took the lead standing in for the absent Cliff.

It was very fitting that for the very famous carol 'We Three Kings', that they were joined on stage by one of the resident church statue 'Melchior'. When I say resident, the statue has been taken on a bit of a journey recently including the Parliament buildings, The National Theater and various London Football Clubs. The history of the statue and its journey was then told by Father Allen. Interestingly and quite uncannily the statue bore a striking resemblance to Richard Thompson, unfortunately this time without his trademark guitar. After the end of the song Father Allen come back to retrieve the statue.......so in true Elvis Presley tradition..........'The King has left the building!' 

Christmas hat time followed with the group donning various Christmas novelty hats for a cover of a Christmas Country number one from The Band called  'Christmas Must Be Tonight'. Ben joked that because it was a Country song and the first one the band had written, they included a lot of Country song references including trucks.

For the well deserved encore the group returned to the front of the stage. A sang around a retro bi-directional condensor mic that Hannah and Ben often use in their duo set. 'Raise A Candle' was a tender and heartfelt post Christmas song reflecting about the New Year. 

To end a wonderful evening of music they chose a rousing and uplifting American-American spiritual counting song called 'Children Go Where I Send Thee'.

It was an excellent concert from a group of very talented folk musicians and friends. I hope that the 'A Winter Union' tour becomes a permanent and regular fixture for many years to come. It's a early Christmas treat and a perfect seasonal musical present.

Jade Rhiannon (The Willows) – Vocals
Katriona Gilmore (Gilmore & Roberts, The Willows) – Vocals, Mandolin, Fiddle
Jamie Roberts (Gilmore & Roberts, The Dovetail Trio) – Vocals, Guitar
Hannah Sanders (Hannah Sanders & Ben Savage) – Vocals, Guitar, Dulcimer, Autoharp
Ben Savage (Hannah Sanders & Ben Savage, The Willows) – Vocals, Dobro, Guitar

Sam Kelly & The Lost Boys - Cecil Sharp House, London (29/11/17)

ALBUM LAUNCH

Photo credit: Rob Bridge (Redwood Photography)

• Date: 29th November, 2017
• Line-up: Sam Kelly & The Lost Boys with support from The Jellyman's Daughter
• Location: Kennedy Hall, Cecil Sharp House, London
• Website: http://samkelly.org/
• Website: https://www.thejellymansdaughter.com/
• Review By: Gary Smith (LCM)

Sam Kelly and his very talented ensemble the 'Lost Boys' are one of the best live Folk and acoustic bands in the UK. Already festival favourites and the 'young guns' of the folk circuit with their infectious blend of Folk, Americana and Irish favoured music. In Cecil Sharp House the spiritual home of UK Folk, they chose the perfect venue both to showcase their music and to release their excellent new highly acclaimed second studio album 'Pretty Peggy'. Don't be too surprised if they are nominated for best band at next year's BBC Radio 2 Folk Awards. The 'Lost Boys' boasts an all-star cast of Jamie Francis (The Changing Room, Stark), Graham Coe (Jellyman's Daughter), Toby Shaer (Seth Lakeman, Carousel), Ciaran Algar (Greg Russell & Ciaran Algar), Achie Churchill-Moss (MMR) and Evan Carson (The Willows, The Changing Room, Ange Hardy). 

Opening the night were a wonderful Americana/Folk duo from Edinburgh called The Jellyman's Daughter, which I had the great pleasure of first meeting at the Harrison in Kings Cross a few years ago. Emily Kelly (acoustic guitar/vocals) and Graham Coe (cello/mandolin/vocals) have certainly gone from strength to strength since our last meeting, with their fusion of bluegrass, post-rock, folk and the good kind of pop. Hopefully in the Spring of next year they will be releasing their new second studio album called 'Dead Reckoning', via a Kickstarter crowdfunding campaign.

Performing around a retro bi-directional condenser microphone they played a set of favourites from their 2014 self titled debut release and also a taster of songs from the new album. I really enjoyed their interweaving vocal harmonies, which were complimented by a very interesting mix of cello and acoustic guitar. Graham's cello providing a very catchy percussive back-beat.  Stylistically their set reminded me of Lewis & Leigh.

Graham was also one of the busiest people in the night, as he is also part of the very talented Lost Boys.

After a short intermission Sam and The Lost Boys exploded onto the stage with the very catchy high tempo traditional whaling shanty the 'Greenland Whale' sometimes know as 'The Whale Catchers' or 'The Twenty Third of March'.  It's a real toe-tapper with a great hooks and sing-a-long chorus.

Sam's set then followed quite faithfully the new album in order. The love interest of the traditional song 'The Bony Lass of Fyvie' gives the album it's name, 'Pretty Peggy'. On the album the band are joined on the track by the wonderful Cara Dillion who provides some of the vocals which perfect complements Sam and the band. "Unfortunately" said Sam "Cara can't be here tonight, as she is no longer with us....that sounds really bad......I mean she is not with our band.....she currently on her tour", Sam deputised perfectly singing both parts. Next up was 'Angeline The Baker' (Roud 1834) was written by Stephen Foster for the Christy Minstrels and first published in 1850. The original Appalachian tune laments the loss of a female slave sent away by her owners. 'When The Reivers Call' is a song written by Jamie Francis and was inspired by the Scottish/English border 'reiving' in the middle ages. The terms comes from the Scots and Northern English dialect and means to go on a cross border plundering raid. "Basically people would come over the border to steal your money and PlayStations. As Jamie is from Cumbria, it's basically a song about his childhood" Sam joked.

The Irish traditional love song with the genders swapped 'If I Were A Blackbird' received a new arrangement from Sam and Chris Woods. Sam related learning this one from his grandfather who started his love of folk music. We return to a nautical theme for 'The Shining Ship', a dark tale in which a lady's lover long lost at sea, returns to her and persuades her to come away with him to a distant land. After boarding the ship, in the true traditions of folk music, she quickly realizes not all is as it seems......[spolier alert] One of the varients of this traditional song is called 'The Demon Ship'. The personal and tender 'Chasing Shadows' written by Sam, is a song for a friend and for anyone going through a tough time.

There is a case of the same mistaken identity as The Kinks 'Lola' in the next song 'The Close Shave', a very clever and funny variation on the traditional song 'Barrack Street'. It tells the unfortunate tale of gold miners in the a New Zealand town, gross deception, heavy drinking, robbery and a never ending cycle. A couple of tunes next 'Josh's Slip' by Toby and 'Rookery Lane' by Ciaran which form the 'Shy Guy's Serve' set.

It's always great to see a cover of the now Nobel prize winning singer-songwriter Bob Dylan in the set. This time it was 'Crash On The Levee' their version of the lesser known song, 'Down In The Flood (Crash On The Levee)'. 'The Keeper' is always an interesting choice to cover. It is a tradition song about a gamekeeper chasing and catching deer, but listen to it closely and it's like a 'Carry On' version of a folk song, full of double meaning and euphemisms. The song is always a fantastic live favourite with it's band call and audience response. The excellent main set finished with a song called 'The Rose' which was translated from the French song 'Le Beau Rosier'. First heard when Sam played mandolin for Belgian band 'Naragonia' in 2016 and fell in love with the song.

For the encore Sam and the band played another firm favourite from their self titled debut album the uptempo 'Jolly Waggoners', followed by the rousing and high energy Irish tune 'Banish Misfortune'. It had the audience on their feet and clapping along......and ended with a well deserved standing ovation.

A fantastic evening of music in the company of some of the UK's finest young folk musicians. Catch them on tour if you can!

Rhiannon Giddens - O2 SBE, London (17/11/17)

FREEDOM HIGHWAY TOUR

• Line-up: Rhiannon Giddens + ensemble with special guest Kaia Kater
• Date: 17th November, 2017
• Venue: O2 Shepherds Bush Empire, London
• Website: http://www.rhiannongiddens.com
• Website: https://www.kaiakater.com/
• Review By: Gary Smith (LCM)

Rhiannon Giddens has many prestigious awards and accolades to her name including a Grammy win for her previous roots 'string band', the Carolina Chocolate Drops and BBC Radio 2 Folk Singer of the Year in 2016. Watching Rhiannon and her band live last night at the packed O2 SBE, you get the impression that she could sing any type of music from Soul, R&B, Blues, Jazz, Musical Theater through to Folk, Blues and Roots music with the same level of skill and excellence. She is passionate, powerful, thought-provoking and a highly skilled vocalist, multi-instrumentalist and songwriter.  

Last night marked the latest date of her 'Freedom Highway' UK tour, as part of the excellent London Folk & Roots Festival. Rhiannon and her world class ensemble dazzled the enthralled and enchanted audience with a commanding performance of American music that blended Country, African-American Gospel and Blues, Jazz and even Hip-Hop and Cajun music as she sang, played banjo, fiddle and flat-footed. She roots it all perfectly in the rich story-telling traditions of the American South, taking us from the miseries of slavery, through the civil war and onwards to the freedom marches of the 1960's.

Opening the night was a Canadian singer-songwriter and banjo mistress Kaia Kater, who we think has a wonderful future ahead of her. Kaia released her critically acclaimed second album 'Nine Pin' last year, a powerful and emotive collection of songs with her rich, sweet and powerful vocals front and center.  Born of African-Caribbean descent in Québec, Kaia grew up between two worlds: one her family’s deep ties to Canadian folk music in her Toronto home; the other the years she spent learning and studying Appalachian music in West Virginia. Her acclaimed debut album Sorrow Bound (May 2015) touched on this divide, while 'Nine Pin' explores even further and casts an unflinching eye at the realities faced by people of colour in North America. The album draws on her own love of traditional music and is in part based on Kaia's own personal experiences.

Kaia's all too short stripped set of just vocals and banjo opened with the slow syncopated groove of the traditional 'Little Pink' about love gone bad, a lovely retelling of the ancient story of insecurity and jealousy.  Continuing her rich and personal story-telling style, Kaia's time at University in West Virginia was next covered the the intimate 'Southern Girl'. Showcasing her versatility next with the beautiful waltz the 'Harvest & The Plough', Kaia issued a dance challenge to the audience. Kaia received a banjo lesson from Rhiannon at 12 year old and on the basis of the set so far, she couldn't have had a better teacher. Almost to prove the point two beautifully played tunes followed 'Waiting For Nancy' and 'Valley Free''. Next up was the title track of 'Nine Pin' which comes from “a traditional square dance formation in which a woman stands alone in the middle of a circle of people turning around her”, but there’s a double meaning at play as the nine pin is also “one of the pins in bowling that keeps getting knocked down”. It carries the idea of resilience in the face of continuous hardships and setbacks and is perfectly suited to the song’s world weary lyrics. Kaia then saved one of the best to last with the wonderful 'St.Elizabeth', my personal favourite on her last album, with it's personal narrative around the theme of life and love in the digital age coupled with audience participated at the end of the song with its 'call and response'. Kaia has been described as "Nina Simone meets bluegrass" and we would certainly agree with that.

After a short intermission Rhiannon Giddens and her world class band exploded into the stage with the powerful, infectious and high energy 'Spanish Mary', a tale of love on the high seas. It's a song taken from the 'New Basement Tapes' a project guided by T Bone Burnett, that featured arrangements of unused Bob Dylan lyrics. This segued into some great and high energy fiddle tunes including 'Pateroller' and 'Black Annie'. Showcasing the band's versatility they quickly moved into the toe-tapping funky and jazzy piano led 'The Love We Almost Had'.

History is always a great teacher if we listen, and Rhiannon is a wonderful scholar and champion of human rights and freedom. A case in point is the very moving and powerful 'At The Purchasers Option' based around an advertisement about the sale of a 22 year old slave girl in New England in the 1700's, whose 9-month-old baby was also available “at the purchaser’s option.” She compared it to almost selling a human life like a used second hand car.

With fellow Carolina Chocolate Drops band member Hubby Jenkins on bones, almost tribal drum beats from Jamie Dick and Rhiannon with some super banjo playing, next was the instrumental 'Following The North Star' which certainly had the wow! factor. 

Immigration has always been a hot topic thought the years. The traditional unaccompanied song 'Pretty Saro' is a case in point, a English folk ballad originating in the early 1700s which traveled to America and was preserved in the Appalachian Mountains through oral traditions. 'What makes America great is it's diversity' commented Rhiannon and we wholeheartedly agree. Based on the wonderful old African-American folk tale 'We Could Fly' written by Rhiannon and Dirk Powell imagines people in slavery being able to fly and has the rich and important themes of hope and freedom. A tribute and homage to Odetta 'Water Boy' is a American traditional folk song built on the call "Water boy, where are you hidin'?" It's one of several water boy calls in cotton plantation folk tradition. I loved the stunning fiddle solo.

The next part of the programme was a wonderful Creole and Cajan two-step waltz written by Dewey Balfa called the 'Newport Waltz'. The richest and diversity of the music continued with the traditional African-American infectious spiritual song 'Children, Go Where I Send Thee'. It's also known as "The Holy Baby" or "Born in Bethlehem'. It's always great to have a Aretha Franklin cover in your set and Rhiannon did justice to the super and powerful 'Do Right Woman, Do Right Man'.

Proving that she has a very talented family Rhiannon's sister Lalenja Harriton took lead vocals for the next song 'Just One More Day', with it's soaring gospel harmonies. The fantastic R&B driven 'Better Get It Right The First Time' deals with the contemporary topic of the shootings of young black men in America and included a rapped testimony by nephew Justin Harrington.

The personal stories of slaves in the America Civil War is the theme of the very powerful and moving 'Come Love Come' with it's infectious refrain 'Come, love come, the road lies low. The way is long and hard I know. Come, love come, the road lies free. I'll wait for you in Tennessee." It's based on some of the personal accounts in a book called 'The Slaves War - The Civil War in the Words of Former Slaves' by Andrew Ward. A Roebuck 'Pop' Staples written classic and the new album's title track 'Freedom Highway' completed the main part of the set. It discusses the struggles in civil rights movement in the 1960's . The song also refers to the murder of Emmett Till at Tallahatchie River. The lyrics begin “March up freedom's highway, march each and every day.......Made up my mind and I won't turn around.".

A very well standing ovation followed for this world class band and it's incredibly talented leading lady.

Rhiannon and the band rounding of the evening of music perfectly with her tribute to Sister Rosetta Tharpe (Rock & Roll Hall of Fame nominee) "the original soul sister" and "the godmother of rock and roll and R&B" with great versions of 'Lonesome Road' and 'Up Above My Head'

Another very well deserved standing O followed. With a couple of bows and waves from the band, Rhiannon skipped and danced off stage with the sound of the appreciative sell-out audience still ringing around the venue. A superb night of music from a modern leading star of America Roots music.

• Rhiannon Giddens - Lead Vocals, Banjo, Fiddle
• Dirk Powell - Keys, Accordion, Electric/Acoustic Guitar, Fiddle, Mandolin
• Hubby Jenkins (CCD) - Banjo, Electric/Acoustic Guitar, Mandolin, Bones and Vocals
• Jamie Dick - Drums and percussion
• Jason Sypher - Bass/Upright Double Bass
• Lalenja Harrington – harmony vocals, Vocals
• Justin Harrington - Rapping and backing vocals

Edgelarks - The Sound Lounge, Tooting (02/11/17)

'Edgelarks' - Album Launch

• Line-up: Edgelarks (Phillip Henry & Hannah Martin) with special guest The Little Unsaid
• Date: 02/11/17
• Location: The Sound Lounge, Tooting
• Website: http://www.edgelarks.co.uk/
• Website: http://www.thelittleunsaid.com/
• Review By: Gary Smith (LCM)

To paraphrase a line in William's Shakespeare's Romeo and Juliette "A rose by any other name would smell as sweet". This would certain apply to 'Edgelarks', the new band name of Radio 2 2014 Folk award winning duo Phillip Henry & Hannah Martin. Not only have they decided to change and simplify their duo name, but they have also chosen to release new a 'watershed' album of the same name. Last night marked their London launch at the very popular community music venue The Sound Lounge in Tooting, South West London. I always think that album launches are very special gigs and this one was no exception. Their new name 'Edgelarks' carries the idea of 'singing about or from the margins'. It's an album about transitional spaces, liminal places, people and times, the straddling of boundaries and thresholds, crossroads and borderlands, travelers and refugees, dusk and dawn. 'Edgelarks' is an album with the same very high quality musicianship, production and songwriting that you would expect from one of the best live Folk duos in the UK.

Phil and Hannah were joined on the night by a musician who played a very important role in co-producing and bringing the album together, John Elliot aka the excellent 'The Little Unsaid'.  This multi-instrumentalist also played drums, percussion, piano, Moog synth and harmonium on the album. Completing the high quality ensemble of musicians on the album were Lukas Drinkwater on Electric Bass/Double Bass and Niall Robinson on Tabla. 

John opened the evening with a great selection of music from his now vast and wonderful back catalogue. It was a rare solo gig for John, as he normally plays with his band. We were treated to a masterclass in musicianship and looping as John layered his instruments and vocals to form a rich and sweeping soundscape. Opening the set was 'Hunger' taken from his 2014 EP 'A Filthy Hunger'. I make no secret of the fact that I love John's music and his latest album Imagined Hymns & Chaingang Matras, is one of my favourite releases this year. It's fresh, vibrant, powerful and elegantly crafted. One of it's two title tracks followed 'Imagined Hymns' an atmospheric track with John vocals floating over soft finger-picked acoustic guitar.  'Dig' wass full of intensity. Demonstrating the full emotional weight John's music can carry. Again beautifully written 'Everyday I wake into this miracle I find. Your accident of cells somehow exploding next to mine. How we dance through the seasons now. How we gently ebb and flow and some days how we ride, the frenzied tides on which we're thrown.......to the moment we fall from the moment we first rise. We've got to dig the happiness from our own landfill lives.' The newest song in the set was the alternative themed love song 'Sweet Kind Of Hurt'. The deep and reflective 'Get On The Other Side Of That Door' continued a personal and rich look at life and working your way through the many problems of modern living. "Sirens out there howling loud, midnight in London Town. I stand here naked now in your headlight eyes. I was weary of the tail chase. Hunting down my mistakes.......We live the fantasy of living free". This wonderful set ended with a piano ballad 'Day is Golden'. It's a look into John's inner deep feeling, struggles and demons. It's one of the most honest and personal songs I've heard in awhile.  "I have no home, but the day is golden, The sun is up but I have seldom felt colder. It's fine being alive some days.....I am hanging by a thread, my friend, today" 

After a short break, Phil and Hannah were welcomed to the stage to perform a fantastic set of both songs from the new 'Edgelarks' album and some older audience favourites including Silbury Hill, Lamps Trimmed & Burning and The Nailmaker's Strike.

The set began with the first single from the album the very powerful 'No Victory', which we featured recently as one of our LCM songs of the day. The tender and personal 'Undelivered' stretches itself out over seven-minutes, a story inspired by a cache of seventeenth-century letters discovered in the Netherlands played out over gently plucked strings. It is a telling and wonderful example of music’s ability to humanise and personalise history. Taken from their excellent 2013 'Mynd' album 'Silbury Hill' is always a live favourite, with it's combination of banjo and dobro. The song is about Silbury Hill, a prehistoric artificial chalk mound near Avebury. The unusual habits of Californian Bush Jay is the subject of the next song 'Song Of The Jay'. The bird has be observed to hold 'funerals' for other birds, regardless of their species. The song is clever extended metaphor for inclusivity and acceptance.  It also features the chaturangui, tabla and acoustic guitar.

Inspired by a trip to Tasmania where they saw a sign saying Paradise (15 Miles) - No Where Else (5 miles). 'Signposts' deals with homesickness and the power of music to console and to bring people together. It also showcases Hannah's deft, melancholy fiddle playing, with Phil adding his skillful acoustic guitar and harmonica playing. 

The film the 'Big Short' was made around the 2008 banking crash. The film saw Brad Pitt in one scene at Phil and Hannah's local pub in Exmouth. 'Caravans' acts as a kind of creation myth for the band, and on another level offers a sage manifesto for living in harmony and alongside and with the natural world. The song saw John join the duo on keys with Phil on slide guitar + stomp box and Hannah on Shurti and lead vocals.

This segued perfectly into a Cornish language song 'Estren' which means 'Strangers'. Its story tells of a travelling stranger with something of a reputation as a ladies’ man. But despite its age-old themes, it carries great relevance to the modern world where intolerance and fear of the foreigner still hold sway.In 'Iceberg' Phil's beat-box & harmonica playing cleverly underpins a thoughtful exploration of human coldness. 'What's The Life Of A Man' is a traditional piece which reminds us of our insignificance in the grander scheme of nature. It directs us to find acceptance and comfort in our fate. The treatment of women at the frighteningly named Yarl’s Wood Immigration Removal Centre is explored in 'Yarl's Wood'. The song was first written and performed as part of the very popular 'Shake The Chain's' project. Hannah was part of this very popular ensemble brought together by Greg Russell.

Always a very popular favourite is the song of hope, the traditional gospel blues song 'Lamps Trimmed & Burning' First made famous by Blind Willy Johnson in 1928. It alludes to the Bible parable of the Wise and Foolish Virgins. It's is always a joy to watch live with Phil on harmonica and beatbox plus stomp box. A marvel in co-ordination and skill. Also taken from their Mynd album was the very popular and high energy 'The Nailmaker's Strike'. It's a firm staple of their live set with its audience participation call and response. For their well deserved encore they fittingly chose the last song on the new Edgelarks album 'The Good Earth' with Phil on his chaturangui and Hannah on her acoustic guitar.

Sadie Jemmett - Green Note, London (5th July, 2017)

LCM LIVE REVIEW

• Line-up: Sadie Jemmett with special guests Ed & Ollie Goodale
• Location: Green Note, Camden
• Date: 5th July, 2017
• Website: http://www.sadiejemmett.com/
• Website: http://edgoodale.com/
• Review by: Gary Smith

The Green Note in Camden has long been regarded as the best small music venue in London. With it's super sound, listening audience and warm atmosphere, it is the favourite of many acoustic artists. Hosting some of the best musicians and singer-songwriters over the years, it has also been used to record live sessions and concerts. Famously The Shires recorded their first EP at the venue. Tonight was a another special occasion as East Sussex based singer-songwriter Sadie Jemmett had chosen the Green Note to record her new live album for release later in the year. 

First up were the special guests for the evening, two young brothers Ed and Ollie Goodale from West Sussex. Despite his young age, Ed has played extensively at gigs, clubs and festivals throughout the UK and Europe, gaining him a strong following on the modern folk scene. Ed's songs are inspired by his 'gift' of Asperger's. With Ed on vocals and acoustic guitar & brother Ollie on cajon, it was a mature performance and strong set of songs based on Ed's life and experiences. Vocally Ed reminded me of Andrew Jones from Journey Home.  The seven song set included songs about 'going with the flow', relaxing and contemplating life in 'I'm alright', 'I'm feeling fine' and 'I want to stay' to the subject of relationships and his daughter in 'Through it all'. There was the optimistic and inspirational 'Don't take no for an answer' about following your dreams as a singer-songwriter. It was also the title track of Ed's 2015 album 'The Same But Different'. The set was concluded with a moving song about their older brother serving in Afghanistan called 'Far Away'. 

Sadie Jemmett comes originally from Cambridge but spent most of her life in North London. She even ran a stall in Camden market selling fruit and juices. Sadie's music is inspired by London life and her personal experiences. It is autobiographical bohemian indie-folk, strongly influenced by the classic Greenwich Village folk music of the 1970's.

With just Sadie on stage with her finger-picked acoustic guitar, she began her set with the emotive, personal and dream-like 'I'm glad your back' taken from her 2011 album 'The Blacksmith's Girl'. Next was her ode to North London, the americana flavoured 'Up on the heath' which was dedicated to Immy, who had asked Sadie for the chords of the song so she could play them on her ukelele. The song reminded me a little of Billy Bragg.

Sadie lived in a one-bed flat with her young daughter and worked in Camden for many years. The next song was another personal take on North London life 'Five things I noticed while I walked to Camden Square'. Following perfectly was the emotive 'Stay' a love song from her 2014 EP 'London Love Songs'. Many singer-songwriters find it difficult to write a 'happy' song. The beautiful and touching 'Fighting chance' was Sadie's latest song to try and crack this elusive subject.

Very topical and timely was another new song 'Rescue street', about the perils of internet dating and the difficulty of modern relationships. Sadie said while writing the song she thought of a place where all these people were waiting to be rescued and saved. Sadie mentioned that the next song 'Another Way To Be' was written after the worse jetlag ever after flying to the US to record her debut album. After four sleepless night this was written for her young daughter. 

Sadie also lived near Dalston and the next song was another slice of London life the title track from her EP 'London Love Songs'. With an Americana feel and tackling the subject of addiction ''Adventures in Sobriety' was written for a friend who had trouble stopping drinking. He would often talk about a 'beast sat on his shoulder'. Written on a very rainy London summer's day 'These days' is a personal account of difficulties of being a single mum.

The very well deserved encore was the up-tempo country infused title track from her 'The Blacksmith's Girl' album, about a girl who goes out at night to seek her fortune. 

It was another special night at the Green Note, I wait with eager anticipation to hear the forthcoming live album.

Darlingside - Union Chapel, London (3rd July, 2017)

LCM LIVE REVIEW

• Line-up: Darlingside with special guest Caitlin Canty
• Location: Union Chapel, Islington. 
• Date: 3rd July, 2017
• Website: http://www.darlingside.com
• Website: http://caitlincanty.com/
• Review by: Gary Smith

Concerts at the the multi-award winning Union Chapel are always special events. This gothic styled working church is often named as one of London's best and favourite live music venues. Last night was very special indeed, with headliners Darlingside alongside their special guest Caitlin Canty producing a stunning performance. Although both are based in the US, Caitlyn in Nashville, Tennessee and Darlingside in Cambridge, Massachusetts, this had all the feeling of a 'homecoming' gig. A packed Union Chapel audience (and their biggest worldwide (non-festival) audience to date) witnessed something quite extraordinary, culminating in a very well deserved double standing ovation

Special guest Nashville based based US singer-songwriter Caitlin Canty (originally from Vermont) opened the evening. Darlingside describe her as a 'big sister' and close fiend who they first met in Williams College in Western Massachusetts. Darlingside also produced Caitlin's first EP and they also played in a wedding band together. This was Caitlin's first London gig and her first trip to the UK. I'm sure that it will be the first of many to come. With a beautiful acapella introduction Caitlyn opened with the lovely 'The Brightest Day', one of the many songs in her extended set from her latest album 'Reckless Skyline' which was released in 2015.

With it's soft picked acoustic guitar slowly building into a rocky finish 'Love For You Will Not Fade' was a firm favourite. Caitlin’s next song “Dotted Line” taken from her latest EP 'Lost in the Valley' was used recently on Netflix’s drama 'House of Cards'. The very catchy and rocky bluegrass 'Enough of Hard Times' was another toe-tapper. One of my favourites in her set was her hit 'Get Up' . Caitlin has a wonderful pure vocals and this song showcased them to the full. I love the arrangements too.  Caitlyn said that in Nashville as a songwriter you have to write a 'weepy' and this was her one, the lovely 'Idaho'. Coming off-mic to deliver a super "unplugged' version of a Country classic made famous by Glen Campbell and written by Lefty Frizzell "I Want To Be With You Always'. Described by Caitlin as her 'crush on the south' was the sublime and reflective 'Southern Man'. Caitlin said that there was so many parallels between the UK and US and there was such a deep sense of community. The last song in her set was the beautiful title track of her last EP 'Lost in the Valley'. 

Darlingside are Don Mitchell (guitar, banjo, vocals), Auyon Mukharji (mandolin, violin, vocals), Harris Paseltiner (guitar, cello, vocals) and David Senft (bass, kick drum, vocals). They are a 'band of brothers' all from very different musical backgrounds and performance styles including chamber music, choral singing, Celtic session playing and street busking. NPR described them as 'exquisitely-arranged, literary-minded, baroque folk-pop'. Simply put the music Darlingside plays is serious, cinematic and deeply moving. There is a real special and magical feeling about it. All the band are all highly skilled multi-instrumentalists with a super tight delivery in their playing and harmonies. They certainly have the 'wow!!' factor.

The band’s name originates from a songwriting class taken by the band members at Williams College. The course instructor, Bernice Lewis, quoted British writer Sir Arthur Quiller-Couch in teaching the class to “kill your darlings.” Lewis applied this philosophy to songwriting, wherein a favorite line, lick, or riff (“a darling”) might compromise the balance and arc of the song as a whole. The name “Darlingside” is an homage to “killing one’s darlings.” It is spelled with an “s” instead of a “c” (like regicide, fratricide, or homicide) because the band felt the “s” is easier on the eye and because they are not super into death.

Grouped around a single bi-directional condenser microphone Darlingside started their set with the powerful and moving 'God Of Loss'. One of my favourite songs on their 'Birds Say' album and live it is quite simply stunning. An ode to Chicago followed, sparse notes from banjo, acoustic guitar, violin and keys punctuate the solemn and beautiful 'White Horses', in keeping with the song’s themes of haunting nostalgia and bleak winter inertia. They were joined on stage by UK singer-songwriter and friend of of LCM Tom Hyatt on keys.

Turning to a track on their 2012 debut album 'Pilot Machines' the band played the sublime and heartfelt 'My Love'. 

After a short interlude to describe the unfortunate encounter Harris had with walking into a glass sliding door on tour in Bristol and the ensuing mayhem, the band moved seamlessly into their next song the very entertaining and clever 'Harrison Ford'. The title track from their 2016 EP 'Whippoorwill' followed, a song about childhood and the passage of time. The song is named after a cabin in upstate New York. Also from the 'Whippoorwill' EP was the next track the rocky, psychedelic and catchy 'Blow The House Down'.

What can only be described as a 'Cheese' interlude by Auyon followed. After only finding out on tour that Cheddar was not only a cheese but also a place in England. The band had encouraged him to learn more about the country he was touring and of course cheese, which he approached with gusto. Raiding all the information on the 'British Cheese' website and then describing the band members entertainingly in cheese metaphors and imparting cheese facts for Cheddar, Stilton, Lancashire and Shropshire Blue.

It was back to their 2010 debut EP 'EP1' for the next track the reflective and personal 'Catbird Seat' with it's excellent fiddle playing from Auyon, making up for insulting his fellow band members earlier. Next up was the 'Bird's Say' album's opening track with it's bowed cello and gentle mandolin playing 'The Ancestor'. It reminded me of a gentle version of the Keston Cobblers Club, who headlined the same venue recently. Another super track was 'Good For You' again with mandolin taking the high notes and amazing four-part harmonies floating over the appreciative Union Chapel audience. With it's wonderful lyrics and metaphors was the almost Beatlesque 'Clay & Cast Iron'. It so difficult to pick a favourite song from their last album and EP as the quality is very high. It's the kind of music you just need to put on your headphones, have a glass of red wine by your side and just close your eyes and drift away. 

Very timely for the eve of the American holiday was another song from 'Whippoorwill' EP the 'Fourth Of July'. A very special Tom Petty cover 'Wild Flower' followed with Caitlin joining the band on stage. It held special memories as it was sung by Caitlin at Harris' wedding as Harris' bride was walking down the aisle. Harris said it was almost like being back at his wedding, as he was back in a church. But as one of his bandmate interrupted 'This time it was like the audience marring Harris'. To which someone in the audience shouted 'I Do'. 

With it's fuzzy guitar opening the wonderful 'Go Back' had shades of early Mumford and Sons. Brittle synthesizer-like sounds from Auyon’s mandolin seamlessly mesh with acoustic and 12- string Danelectro guitars for a great rock groove. 

They then made an important announcement. Darlingside are shortly to begin to record a new third album, to be released in the spring of 2018.

The final song from 'Bird's Say' in the set was the retro 'My Girl, My Guy' with shades of CSNY and the Beach Boys. As a fitting conclusion the encore was the powerful and anthemic 'Sweet and Low' written by the band 5 years ago and appearing on their debut album. They were once again joined by Caitlin and Tom.

The following double standing ovation I think said it all. I'm sure with the reception the band received that they will come back to tour the UK very soon. Watch out too for their new album in the spring, it's going to be very special. 

Sierra Hull - Bush Hall, London (26th June, 2017)

LCM LIVE REVIEW

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• Line-up: Sierra Hull and Ethan Jodziewicz
• Location: Bush Hall, London
• Date: 26th June, 2017
• Website: http://www.sierrahull.com/
• Review by: Gary Smith

Monday night saw the remarkable first London gig by the Grammy nominated US Country star Sierra Hull, a mandolin virtuoso with the vocals of a young Alison Krauss. She was joined on stage for the performance by another high talented virtuoso musician, the double bass playing marvel Ethan Jodziewicz. The two instruments and Sierra's pure vocals complemented each other perfectly. Sierra and Ethan captivated the audience from start to finish, receiving a very well deserved standing ovation. The performance included many of the wonderful songs from Sierra's Grammy award nominated album 'Weighted Mind', some older songs from her previous albums, some brand new pieces including 'Sundance' and even some JS Bach, Prince and an excellent Loretta Lynn cover included for good measure.

Sierra came to bluegrass very early and she was a remarkable teen prodigy. Alison Krauss called her to the Grand Ole Opry stage when Sierra was just 11-years-old. Two years later, she signed with Rounder Records and soon became known as a remarkable mandolin player, a pure tone-true vocalist and a recording artist of high order. She later played the White House, Carnegie Hall, and the Kennedy Center. She became the first bluegrass musician to receive a Presidential Scholarship at the Berklee College of Music. Her new 'watershed' album 'Weighted Mind' is a wonderful fusion of Bluegrass, Folk and Americana. Produced by innovative banjo master Bela Fleck, it also featuring Ethan providing resonance and rhythmic complexity on his double bass, with the excellent Alison Krauss, Abigail Washburn and Rhiannon Giddens adding their enchanting and world class harmonies.

Before the album's release it was a life changing time for Sierra and this is reflected in the album's central themes "It was a frustrating and somewhat difficult musical period for me," Sierra writes, "but out of it has come a new discovery of myself as a musician and I wouldn't change a thing."

Sierra shares the pain of losing her sense of stability. Having to renegotiate her relationships and about caring very deeply about choosing well. It's full of depth and maturity.

The interplay and arrangements between Sierra's vocals and mandolin playing and Ethan's sometimes bowed, sometimes finger-picked percussive playing was very special indeed. Two musicians of the highest quality making musical magic. At times delicate, at other times deep and haunting, always reflective, thoughtful and very personal.

The tone was set with 'Stranded', a deeply personal song about being adrift in live at an early age. Being in a place where you are not happy, almost stagnating. Wanting to move on and try new things, but others don't want you to change. It echoes with the sad refrain 'Dear 22.....I'm stranded here'. The beautiful and ethereal 'Compass' continues the theme "My skin is old. I need to shed it......Cause there's more to me. I have to let it out.". It's full of wonderful comparisons about losing your way and wanting to break free and change things. Themes which are also explored in 'Choices & Changes' "If you won't go where I'm goin', then I'll have to go alone." and 'The In-Between' "22 years with so much to learn. Too young to crash, but not to get burned.". 

Packed full of meaning is the title track 'Weighted Mind' "Should I leave or should I lay low, These walls must come down. So much left to figure out. Weighted mind - wasted time. A broken glass that never spills."

We enter into the classical world next with JS Bach's 'Invention No.6 in E Major' moving into an instrumental written by Sierra delightfully named 'E tune'

A new song in the set was the stunning 'Sundance' with it's haunting bowed double bass and fresh mandolin top notes. Sierra next turns to a Psalm about boundless divine presence for 'Wings Of The Dawn'. Heavenly and ethereal with soft hand picked mandolin, deep double bass line and Sierra's rich vocal. The album version has Rhiannon Giddens on backing vocals. 

A Loretta Lynn cover 'You Want To Give Me A Lift' gave goosebumps to the audience and performers alike. The traditional song 'Queen of Hearts' is always a firm favourite and this was segwayed into a lovely self penned instrumental 'Royal Tea'. Written for her mother was the lovely 'Lullaby'.  "I'm too old for a lullaby, but I'll never be too old to cry"

Full length solo Double Bass instrumentals due to the nature of the instrument are often hard to pull off.  'Jostling The Bugs' written in the Nashville summer and performed by Ethan alone on stage was an interesting piece demonstrating the mastery of his instrument.

The thoughtful and personal 'Birthday' was next. "So go ahead and walk with anger and make this girl your only stranger. If love was unconditional, well it ain't no more. Tell yourself that you know best and dwell with pride in your empty nest". From her 2011 album 'Daybreak' came the light-hearted and very catchy bluegrass 'Best Buy', inspired by a trip to electrical store in Cookville, Tennessee.

As the set closes to it's end we enjoyed the hopefully, forward looking and moving on song 'I'll Be Fine'. One of my favourites from Sierra's new album is the excellent 'Black River' and it was very fitting that in was the last song of the set. To get the 'party started' the encore was a wonderful bluegrass cover of Prince's '1999' with Ethan joining Sierra on vocals. 

Sierra reminds me of a cross between the excellent multi Grammy award winning Alison Krauss and Sarah Jarosz. On the strength of this performance it wouldn't be long before Sierra is winning one of her very own. Hopefully the fantastic Sierra and Ethan will return to London very soon.